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Gary Edwards

Will Intel let Jen-Hsun Huang spread graphics beyond PCs? » VentureBeat - 0 views

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    Nvidia chief executive Jen-Hsun Huang is on a mission to get graphics chips into everything from handheld computers to smart phones. He expects, for instance, that low-cost Netbooks will become the norm and that gadgets will need to have battery life lasting for days. Holding up an Ion platform, which couples an Intel low-cost Atom processor with an Nvidia integrated graphics chip set, he said his company is looking to determine "what is the soul of the new PC." With Ion, Huang said he is prepared for the future of the computer industry. But first, he has to deal with Intel. Good interview. See interview with Charlie Rose! The Dance of the Sugarplum Documents is about the evolution of the Web document model from a text-typographical/calculation model to one that is visually rich with graphical media streams meshing into traditional text/calc. The thing is, this visual document model is being defined on the edge. The challenge to the traditional desktop document model is coming from the edge, primarily from the WebKit - Chrome - iPhone Community. Jen-Hsun argues on Charlie Rose that desktop computers featured processing power and applications designed to automate typewritter (wordprocessing) and calculator (spreadsheet) functions. The x86 CPU design reflects this orientation. He argues that we are now entering the age of visual computing. A GPU is capable of dramatic increases in processing power because the architecture is geared to the volumes of graphical information being processed. Let the CPU do the traditional stuff, and let the GPU race into the future with the visual processing. That a GPU architecture can scale in parallel is an enormous advantage. But Jen-Hsun does not see the need to try to replicate CPU tasks in a GPU. The best way forward in his opinion is to combine the two!!!
Gary Edwards

Blog | Spritz - 0 views

  • Therein lies one of the biggest problems with traditional RSVP. Each time you see text that is not centered properly on the ORP position, your eyes naturally will look for the ORP to process the word and understand its meaning. This requisite eye movement creates a “saccade”, a physical eye movement caused by your eyes taking a split second to find the proper ORP for a word. Every saccade has a penalty in both time and comprehension, especially when you start to speed up reading. Some saccades are considered by your brain to be “normal” during reading, such as when you move your eye from left to right to go from one ORP position to the next ORP position while reading a book. Other saccades are not normal to your brain during reading, such as when you move your eyes right to left to spot an ORP. This eye movement is akin to trying to read a line of text backwards. In normal reading, you normally won’t saccade right-to-left unless you encounter a word that your brain doesn’t already know and you go back for another look; those saccades will increase based on the difficulty of the text being read and the percentage of words within it that you already know. And the math doesn’t look good, either. If you determined the length of all the words in a given paragraph, you would see that, depending on the language you’re reading, there is a low (less than 15%) probability of two adjacent words being the same length and not requiring a saccade when they are shown to you one at a time. This means you move your eyes on a regular basis with traditional RSVP! In fact, you still move them with almost every word. In general, left-to-right saccades contribute to slower reading due to the increased travel time for the eyeballs, while right-to-left saccades are discombobulating for many people, especially at speed. It’s like reading a lot of text that contains words you don’t understand only you DO understand the words! The experience is frustrating to say the least.
  • In addition to saccading, another issue with RSVP is associated with “foveal vision,” the area in focus when you look at a sentence. This distance defines the number of letters on which your eyes can sharply focus as you read. Its companion is called “parafoveal vision” and refers to the area outside foveal vision that cannot be seen sharply.
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    "To understand Spritz, you must understand Rapid Serial Visual Presentation (RSVP). RSVP is a common speed-reading technique used today. However, RSVP was originally developed for psychological experiments to measure human reactions to content being read. When RSVP was created, there wasn't much digital content and most people didn't have access to it anyway. The internet didn't even exist yet. With traditional RSVP, words are displayed either left-aligned or centered. Figure 1 shows an example of a center-aligned RSVP, with a dashed line on the center axis. When you read a word, your eyes naturally fixate at one point in that word, which visually triggers the brain to recognize the word and process its meaning. In Figure 1, the preferred fixation point (character) is indicated in red. In this figure, the Optimal Recognition Position (ORP) is different for each word. For example, the ORP is only in the middle of a 3-letter word. As the length of a word increases, the percentage that the ORP shifts to the left of center also increases. The longer the word, the farther to the left of center your eyes must move to locate the ORP."
Gonzalo San Gil, PhD.

Power in the Age of the Feudal Internet - CoLab - 0 views

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    "Discussion Papers > Internet and Security > Proposition PROPOSITION Bruce Schneier, Cryptographer and Computer Security Specialist and Author of Liars and Outliers: Enabling the Trust Society Needs to Thrive We're in the middle of an epic battle for power in cyberspace. On one side are the nimble, unorganized, distributed powers such as dissident groups, criminals, and hackers. On the other side are the traditional, organized, institutional powers such as governments and large multinational corporations. During its early days, the Internet gave coordination and efficiency to the powerless. It made them powerful, and seem unbeatable. But now the more traditional institutional powers are winning, and winning big. How these two fare long-term, and the fate of the majority of us that don't fall into either group, is an open question - and one vitally important to the future of the Internet."
Gonzalo San Gil, PhD.

The energy and greenhouse-gas implications of internet video streaming in the United St... - 0 views

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    [# ! Via Francisco Manuel Hernandez Sosa's FB...] OPEN ACCESS Arman Shehabi1, Ben Walker2 and Eric Masanet2 "Letters The rapid growth of streaming video entertainment has recently received attention as a possibly less energy intensive alternative to the manufacturing and transportation of digital video discs (DVDs). This study utilizes a life-cycle assessment approach to estimate the primary energy use and greenhouse-gas emissions associated with video viewing through both traditional DVD methods and online video streaming. Base-case estimates for 2011 video viewing energy and CO2(e) emission intensities indicate video streaming can be more efficient than DVDs, depending on DVD viewing method. "
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    OPEN ACCESS Arman Shehabi1, Ben Walker2 and Eric Masanet2 "Letters The rapid growth of streaming video entertainment has recently received attention as a possibly less energy intensive alternative to the manufacturing and transportation of digital video discs (DVDs). This study utilizes a life-cycle assessment approach to estimate the primary energy use and greenhouse-gas emissions associated with video viewing through both traditional DVD methods and online video streaming. Base-case estimates for 2011 video viewing energy and CO2(e) emission intensities indicate video streaming can be more efficient than DVDs, depending on DVD viewing method. "
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    [# ! Via Francisco Manuel Hernandez Sosa's FB...] OPEN ACCESS Arman Shehabi1, Ben Walker2 and Eric Masanet2 "Letters The rapid growth of streaming video entertainment has recently received attention as a possibly less energy intensive alternative to the manufacturing and transportation of digital video discs (DVDs). This study utilizes a life-cycle assessment approach to estimate the primary energy use and greenhouse-gas emissions associated with video viewing through both traditional DVD methods and online video streaming. Base-case estimates for 2011 video viewing energy and CO2(e) emission intensities indicate video streaming can be more efficient than DVDs, depending on DVD viewing method. "
Gonzalo San Gil, PhD.

What is open government? | opensource.com - 0 views

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    "In general terms, an open government is one with high levels of transparency and mechanisms for public scrutiny and oversight in place, with an emphasis on government accountability. Transparency is considered the traditional hallmark of an open government, meaning that the public should have access to government-held information and be informed of government proceedings. In recent years, however, the definition of open government has expanded to include expectations for increased citizen participation & collaboration in government proceedings through the use of modern, open technologies."
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    "In general terms, an open government is one with high levels of transparency and mechanisms for public scrutiny and oversight in place, with an emphasis on government accountability. Transparency is considered the traditional hallmark of an open government, meaning that the public should have access to government-held information and be informed of government proceedings. In recent years, however, the definition of open government has expanded to include expectations for increased citizen participation & collaboration in government proceedings through the use of modern, open technologies."
Gonzalo San Gil, PhD.

How to configure peer-to-peer VPN on Linux - Xmodulo - 0 views

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    "Last updated on October 9, 2014 Authored by Dan Nanni Leave a comment A traditional VPN (e.g., OpenVPN, PPTP) is composed of a VPN server and one or more VPN clients connected to the server. When any two VPN clients talk to each other, the VPN server needs to relay VPN traffic between them. The problem of such a hub-and-spoke type of VPN topology is that the VPN server can easily become a performance bottleneck as the number of connected clients increase"
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    "Last updated on October 9, 2014 Authored by Dan Nanni Leave a comment A traditional VPN (e.g., OpenVPN, PPTP) is composed of a VPN server and one or more VPN clients connected to the server. When any two VPN clients talk to each other, the VPN server needs to relay VPN traffic between them. The problem of such a hub-and-spoke type of VPN topology is that the VPN server can easily become a performance bottleneck as the number of connected clients increase"
Gonzalo San Gil, PhD.

Record Labels Sue 'New' Grooveshark, Seize Domains | TorrentFreak - 0 views

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    " Ernesto on May 15, 2015 C: 0 Breaking A few days after music streaming service Grooveshark shut down and settled with the major record labels, the site was 'resurrected' by unknown people. While the reincarnation bears more resemblance to a traditional MP3 search engine than Grooveshark, the labels are determined to bring it down."
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    " Ernesto on May 15, 2015 C: 0 Breaking A few days after music streaming service Grooveshark shut down and settled with the major record labels, the site was 'resurrected' by unknown people. While the reincarnation bears more resemblance to a traditional MP3 search engine than Grooveshark, the labels are determined to bring it down."
Gonzalo San Gil, PhD.

Big Tech Does Not Speak for the Internet | Electronic Frontier Foundation - 0 views

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    "Too often, media and policymakers take seriously the claim of government officials that secret trade deals like the Trans-Pacific Partnership (TPP) promote and protect "Internet freedom," even though the traditional guardians of Internet freedom-users and innovators who rely on it-have said precisely the opposite."
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    "Too often, media and policymakers take seriously the claim of government officials that secret trade deals like the Trans-Pacific Partnership (TPP) promote and protect "Internet freedom," even though the traditional guardians of Internet freedom-users and innovators who rely on it-have said precisely the opposite."
Gonzalo San Gil, PhD.

TTIP for dummies | EurActiv - 0 views

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    "In the wake of the global economic crisis and the deadlocked Doha round of international trade talks, the EU and the United States started negotiating a Transatlantic Trade and Investment Partnership, which seeks to go beyond traditional trade deals and create a genuine transatlantic single market. But the road ahead is paved with hurdles."
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    "In the wake of the global economic crisis and the deadlocked Doha round of international trade talks, the EU and the United States started negotiating a Transatlantic Trade and Investment Partnership, which seeks to go beyond traditional trade deals and create a genuine transatlantic single market. But the road ahead is paved with hurdles."
Gonzalo San Gil, PhD.

Creators Must Move Beyond Suing the Audience | Electronic Frontier Foundation - 0 views

  • Paley avoided traditional film distribution deals and instead released the film under a Creative Commons Attribution-Share Alike license, writing: You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom
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    [...Paley avoided traditional film distribution deals and instead released the film under a Creative Commons Attribution-Share Alike license, writing: You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom]
Gonzalo San Gil, PhD.

Leaked Oscar Movie Screeners Flood Torrent Sites | TorrentFreak (wikinote @ lead)) - 0 views

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    "An unprecedented fast flood of leaked 'screener' copies of movies has hit torrent sites ahead of the official Oscar nominations announcement later this month. The latest Hobbit installment is proving most popular with over 500K downloads in the first 24 hours. None of the movies comes from a traditional 'scene' source." (# ! Hollywood challengers appear dead... https://en.wikipedia.org/wiki/Screener)
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    "An unprecedented fast flood of leaked 'screener' copies of movies has hit torrent sites ahead of the official Oscar nominations announcement later this month. The latest Hobbit installment is proving most popular with over 500K downloads in the first 24 hours. None of the movies comes from a traditional 'scene' source." (# ! Hollywood challengers appear dead... https://en.wikipedia.org/wiki/Screener)
Gonzalo San Gil, PhD.

4 gui applications for installing Linux from USB key | LinuxBSDos.com - 0 views

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    "The traditional and most common method of installing Linux is by burning the installation ISO image to a CD or DVD. But with many laptops, notebooks, ultra notebooks, subnotebooks shipping without an optical drive, installation via USB flash stick has become the most common method for installing Linux on these types of computers" # ! #Freedom to #Go.
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    "The traditional and most common method of installing Linux is by burning the installation ISO image to a CD or DVD. But with many laptops, notebooks, ultra notebooks, subnotebooks shipping without an optical drive, installation via USB flash stick has become the most common method for installing Linux on these types of computers"
Gonzalo San Gil, PhD.

2015: Open Source Has Won, But It Isn't Finished - Technology Blog and Community from I... - 0 views

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    "At the beginning of a new year, it's traditional to look back over the last 12 months. But as far as this column is concerned, it's easy to summarise what happened then: open source has won. Let's take it from the top:"
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    "At the beginning of a new year, it's traditional to look back over the last 12 months. But as far as this column is concerned, it's easy to summarise what happened then: open source has won. Let's take it from the top:"
Gonzalo San Gil, PhD.

Germany's Spies Grab 11 Billion Pieces Of Phone Metadata A Year -- And Pass On 6 Billio... - 1 views

    • Gonzalo San Gil, PhD.
       
      [U.S. Spying On Europe: EU Confronts Washington Reports Of Spying On Allies [06/30/2013] ]
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    "from the bad-sex dept Given Germany's high-profile attachment to privacy, it's always interesting to hear about ways in which its spies have been ignoring that tradition. Here, for example, is a story in the German newspaper Die Zeit about the country's foreign intelligence agency BND gathering metadata from millions of phone records every day: "
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    "from the bad-sex dept Given Germany's high-profile attachment to privacy, it's always interesting to hear about ways in which its spies have been ignoring that tradition. Here, for example, is a story in the German newspaper Die Zeit about the country's foreign intelligence agency BND gathering metadata from millions of phone records every day: "
Gonzalo San Gil, PhD.

The Internet Without Connection, Free Endless OS For Emerging Markets - Forbes - 0 views

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    " There are four billion people on the planet without PCs or access to affordable personal computers. That figure should surely be tempered with some contextualization i.e. not everybody actually wants to have an Internet connection and many traditional, native or bucolic ways of live do still exist on the planet"
Gonzalo San Gil, PhD.

WSIS Forum 2012 - 0 views

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    [ITU, UNESCO, UNCTAD and UNDP welcome all WSIS Stakeholders to the WSIS Forum 2012 website. WSIS Forum 2012 will be held from 14th to 18th May 2012 and will provide structured opportunities to network, learn and to participate in multi-stakeholder discussions and consultations on WSIS implementation. This event builds upon the tradition of annual WSIS May meetings, and its new format is the result of open consultations with all WSIS Stakeholders. The 2012 WSIS Forum will be hosted by ITU and will take place at the Conference Centre of the International Labour Organization (ILO). Remote Participation will be an integral component of the Forum details on both onsite and remote participation will be available soon. Onsite participants can network with each other using the imeetyouatWSISForum social networking platform...]
Gary Edwards

Spritz Speed Reading Revolution - 0 views

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    "Why it Works: Reading is inherently time consuming because your eyes have to move from word to word and line to line. Traditional reading also consumes huge amounts of physical space on a page or screen, which limits reading effectiveness on small displays. Scrolling, pinching, and resizing a reading area doesn't fix the problem and only frustrates people. Now, with compact text streaming from Spritz, content can be streamed one word at a time, without forcing your eyes to spend time moving around the page. Spritz makes streaming your content easy and more comfortable, especially on small displays. Our "Redicle" technology enhances readability even more by using horizontal lines and hash marks to direct your eyes to the red letter in each word, so you can focus on the content that interests you. Best of all, Spritz's patent-pending technology can integrate into photos, maps, videos, and websites to promote more effective communication."
Gonzalo San Gil, PhD.

Mobile Music Piracy More Popular Than Torrents and Cyberlockers | TorrentFreak - 0 views

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    " Ernesto on April 1, 2014 C: 42 Breaking The smartphone revolution is changing the music piracy landscape at a rapid pace. New research by market research firm NPD concludes that downloading unauthorized music via mobiles has outgrown traditional online piracy sources such as torrent sites and cyberlockers."
Gary Edwards

Apple and Facebook Flash Forward to Computer Memory of the Future | Enterprise | WIRED - 1 views

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    Great story that is at the center of a new cloud computing platform. I met David Flynn back when he was first demonstrating the Realmsys flash card. Extraordinary stuff. He was using the technology to open a secure Linux computing window on an operating Windows XP system. The card opened up a secure data socket, connecting to any Internet Server or Data Server, and running applications on that data - while running Windows and Windows apps in the background. Incredible mesh of Linux, streaming data, and legacy Windows apps. Everytime I find these tech pieces explaining Fusion-io though, I can't help but think that David Flynn is one of the most decent, kind and truly deserving of success people that I have ever met. excerpt: "Apple is spending mountains of money on a new breed of hardware device from a company called Fusion-io. As a public company, Fusion-io is required to disclose information about customers that account for an usually large portion of its revenue, and with its latest annual report, the Salt Lake City outfit reveals that in 2012, at least 25 percent of its revenue - $89.8 million - came from Apple. That's just one figure, from just one company. But it serves as a sign post, showing you where the modern data center is headed. 'There's now a blurring between the storage world and the memory world. People have been enlightened by Fusion-io.' - Gary Gentry Inside a data center like the one Apple operates in Maiden, North Carolina, you'll find thousands of computer servers. Fusion-io makes a slim card that slots inside these machines, and it's packed with hundreds of gigabytes of flash memory, the same stuff that holds all the software and the data on your smartphone. You can think of this card as a much-needed replacement for the good old-fashioned hard disk that typically sits inside a server. Much like a hard disk, it stores information. But it doesn't have any moving parts, which means it's generally more reliable. It c
Gary Edwards

XML Production Workflows? Start with the Web and XHTML - 0 views

  • Challenges: Some Ugly Truths The challenges of building—and living with—an XML workflow are clear enough. The return on investment is a long-term proposition. Regardless of the benefits XML may provide, the starting reality is that it represents a very different way of doing things than the one we are familiar with. The Word Processing and Desktop Publishing paradigm, based on the promise of onscreen, WYSIWYG layout, is so dominant as to be practically inescapable. It has proven really hard to get from here to there, no matter how attractive XML might be on paper. A considerable amount of organizational effort and labour must be expended up front in order to realize the benefits. This is why XML is often referred to as an “investment”: you sink a bunch of time and money up front, and realize the benefits—greater flexibility, multiple output options, searching and indexing, and general futureproofing—later, over the long haul. It is not a short-term return proposition. And, of course, the returns you are able to realize from your XML investment are commensurate with what you put in up front: fine-grained, semantically rich tagging is going to give you more potential for searchability and recombination than a looser, more general-purpose approach, but it sure costs more. For instance, the Text Encoding Initiative (TEI) is the grand example of pouring enormous amounts of energy into the up-front tagging, with a very open-ended set of possibilities down the line. TEI helpfully defines a level to which most of us do not have to aspire.[5] But understanding this on a theoretical level is only part of the challenge. There are many practical issues that must be addressed. Software and labour are two of the most critical. How do you get the content into XML in the first place? Unfortunately, despite two decades of people doing SGML and XML, this remains an ugly question.
  • Practical Challenges In 2009, there is still no truly likeable—let alone standard—editing and authoring software for XML. For many (myself included), the high-water mark here was Adobe’s FrameMaker, substantially developed by the late 1990s. With no substantial market for it, it is relegated today mostly to the tech writing industry, unavailable for the Mac, and just far enough afield from the kinds of tools we use today that its adoption represents a significant hurdle. And FrameMaker was the best of the breed; most of the other software in decent circulation are programmers’ tools—the sort of things that, as Michael Tamblyn pointed out, encourage editors to drink at their desks. The labour question represents a stumbling block as well. The skill-sets and mind-sets that effective XML editors need have limited overlap with those needed by literary and more traditional production editors. The need to think of documents as machine-readable databases is not something that comes naturally to folks steeped in literary culture. In combination with the sheer time and effort that rich tagging requires, many publishers simply outsource the tagging to India, drawing a division of labour that spans oceans, to put it mildly. Once you have XML content, then what do you do with it? How do you produce books from it? Presumably, you need to be able to produce print output as well as digital formats. But while the latter are new enough to be generally XML-friendly (e-book formats being largely XML based, for instance), there aren’t any straightforward, standard ways of moving XML content into the kind of print production environments we are used to seeing. This isn’t to say that there aren’t ways of getting print—even very high-quality print—output from XML, just that most of them involve replacing your prepress staff with Java programmers.
  • Why does this have to be so hard? It’s not that XML is new, or immature, or untested. Remember that the basics have been around, and in production, since the early 1980s at least. But we have to take account of a substantial and long-running cultural disconnect between traditional editorial and production processes (the ones most of us know intimately) and the ways computing people have approached things. Interestingly, this cultural divide looked rather different in the 1970s, when publishers were looking at how to move to digital typesetting. Back then, printers and software developers could speak the same language. But that was before the ascendancy of the Desktop Publishing paradigm, which computerized the publishing industry while at the same time isolating it culturally. Those of us who learned how to do things the Quark way or the Adobe way had little in common with people who programmed databases or document-management systems. Desktop publishing technology isolated us in a smooth, self-contained universe of toolbars, grid lines, and laser proofs. So, now that the reasons to get with this program, XML, loom large, how can we bridge this long-standing divide?
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  • Using the Web as a Production Platform The answer, I think, is right in front of you. The bridge is the Web, a technology and platform that is fundamentally based on XML, and which many publishers are by now comfortably familiar with. Perhaps not entirely comfortably, but at least most publishers are already working with the Web; they already either know or have on staff people who understand it and can work with it. The foundation of our argument is this: rather than looking at jumping to XML in its full, industrial complexity, which seems to be what the O'Reilly-backed StartWithXML initiative[6] is suggesting, publishers instead leverage existing tools and technologies—starting with the Web—as a means of getting XML workflows in place. This means making small investments and working with known tools rather than spending tens of thousands of dollars on XML software and rarefied consultants. It means re-thinking how the existing pieces of the production toolchain fit together; re-thinking the existing roles of software components already in use. It means, fundamentally, taking the Web seriously as a content platform, rather than thinking of it as something you need to get content out to, somehow. If nothing else, the Web represents an opportunity to think about editorial and production from outside the shrink-wrapped Desktop Publishing paradigm.
  • Is the Web made of Real XML? At this point some predictable objections can be heard: wait a moment, the Web isn’t really made out of XML; the HTML that makes up most of the Web is at best the bastard child of SGML, and it is far too flaky/unstructured/underpowered to be taken seriously. We counter by arguing that although HTML on the Web exists in a staggering array of different incarnations, and that the majority of it is indeed an unstructured mess, this does not undermine the general principle that basic, ubiquitous Web technologies can make a solid platform for content management, editorial process, and production workflow.
  • With the advent of a published XML standard in the late 1990s came the W3C’s adoption of XHTML: the realization of the Web’s native content markup as a proper XML document type. Today, its acceptance is almost ubiquitous, even while the majority of actual content out there may not be strictly conforming. The more important point is that most contemporary Web software, from browsers to authoring tools to content management systems (from blogs to enterprise systems), are capable of working with clean, valid XHTML. Or, to put the argument the other way around, clean, valid XHTML content plays absolutely seamlessly with everything else on the Web.[7]
  • The objection which follows, then, will be that even if we grant that XHTML is a real XML document type, that it is underpowered for “serious” content because it is almost entirely presentation (formatting) oriented; it lacks any semantic depth. In XHTML, a paragraph is a paragraph is a paragraph, as opposed to a section or an epigraph or a summary.
  • n contrast, more “serious” XML document types like DocBook[8] or DITA-derived schemas[9] are capable of making semantic distinctions about content chunks at a fine level of granularity and with a high degree of specificity.
  • So there is an argument for recalling the 80:20 rule here. If XHTML can provide 80% of the value with just 20% of the investment, then what exactly is the business case for spending the other 80% to achieve that last 20% of value? We suspect the ratio is actually quite a bit steeper than 80:20 for most publishers.
  • Furthermore, just to get technical for a moment, XHTML is extensible in a fairly straightforward way, through the common “class” attribute on each element. Web developers have long leveraged this kind of extensibility in the elaboration of “microformats” for semantic-web applications.[10] There is no reason why publishers shouldn’t think to use XHTML’s simple extensibility in a similar way for their own ends.
  • XHTML, on the other hand, is supported by a vast array of quotidian software, starting with the ubiquitous Web browser. For this very reason, XHTML is in fact employed as a component part of several more specialized document types (ONIX and ePub among them).
  • Why re-invent a general-purpose prose representation when XHTML already does the job?
  • It is worth pausing for a moment to consider the role of XHTML in the ePub standard for ebook content. An ePub file is, anatomically, a simply disguised zip archive. Inside the zip archive are a few standard component parts: there are specialized files that declare metadata about the book, and about the format of the book. And then there is the book’s content, represented in XHTML. An ePub book is a Web page in a wrapper.
  • To sum up the general argument: the Web as it already exists presents incredible value to publishers, as a platform for doing XML content management with existing (and often free) tools, and without having to go blindly into the unknown. At this point, we can offer a few design guidelines: prefer existing and/or ubiquitous tools over specialized ones wherever possible; prefer free software over proprietary systems where possible; prefer simple tools controlled and coordinated by human beings over fully automated (and therefore complex) systems; play to our strengths: use Web software for storing and managing content, use layout software for layout, and keep editors and production people in charge of their own domains.
  • Putting the Pieces Together: A Prototype
  • At the SFU Master of Publishing Program, we have been chipping away at this general line of thinking for a few years. Over that time, Web content management systems have been getting more and more sophisticated, all the while getting more streamlined and easier to use. (NB: if you have a blog, you have a Web content management system.) The Web is beginning to be recognized as a writing and editing environment used by millions of people. And the ways in which content is represented, stored, and exchanged online have become increasingly robust and standardized.
  • The missing piece of the puzzle has been print production: how can we move content from its malleable, fluid form on line into the kind of high-quality print production environments we’ve come to expect after two decades of Desktop Publishing?
  • Anyone who has tried to print Web content knows that the existing methods leave much to be desired (hyphenation and justification, for starters). In the absence of decent tools for this, most publishers quite naturally think of producing the print content first, and then think about how to get material onto the Web for various purposes. So we tend to export from Word, or from Adobe, as something of an afterthought.
  • While this sort of works, it isn’t elegant, and it completely ignores the considerable advantages of Web-based content management.
  • Content managed online is stored in one central location, accessible simultaneously to everyone in your firm, available anywhere you have an Internet connection, and usually exists in a much more fluid format than Word files. If only we could manage the editorial flow online, and then go to print formats at the end, instead of the other way around. At SFU, we made several attempts to make this work by way of the supposed “XML import” capabilities of various Desktop Publishing tools, without much success.[12]
  • In the winter of 2009, Adobe solved this part of the problem for us with the introduction of its Creative Suite 4. What CS4 offers is the option of a complete XML representation of an InDesign document: what Adobe calls IDML (InDesign Markup Language).
  • The IDML file format is—like ePub—a simply disguised zip archive that, when unpacked, reveals a cluster of XML files that represent all the different facets of an InDesign document: layout spreads, master pages, defined styles, colours, and of course, the content.
  • IDML is a well thought-out XML standard that achieves two very different goals simultaneously: it preserves all of the information that InDesign needs to do what it does; and it is broken up in a way that makes it possible for mere mortals (or at least our Master of Publishing students) to work with it.
  • What this represented to us in concrete terms was the ability to take Web-based content and move it into InDesign in a straightforward way, thus bridging Web and print production environments using existing tools and skillsets, with a little added help from free software.
  • We would take clean XHTML content, transform it to IDML-marked content, and merge that with nicely designed templates in InDesign.
  • The result is an almost push-button publication workflow, which results in a nice, familiar InDesign document that fits straight into the way publishers actually do production.
  • Tracing the steps To begin with, we worked backwards, moving the book content back to clean XHTML.
  • The simplest method for this conversion—and if you want to create Web content, this is an excellent route—was to use Adobe’s “Export to Digital Editions” option, which creates an ePub file.
  • Recall that ePub is just XHTML in a wrapper, so within the ePub file was a relatively clean XHTML document. It was somewhat cleaner (that is, the XHTML tagging was simpler and less cluttered) than InDesign’s other Web-oriented exports, possibly because Digital Editions is a well understood target, compared with somebody’s website.
  • In order to achieve our target of clean XHTML, we needed to do some editing; the XHTML produced by InDesign’s “Digital Editions” export was presentation-oriented. For instance, bulleted list items were tagged as paragraphs, with a class attribute identifying them as list items. Using the search-and-replace function, we converted such structures to proper XHTML list and list-item elements. Our guiding principle was to make the XHTML as straightforward as possible, not dependent on any particular software to interpret it.
  • We broke the book’s content into individual chapter files; each chapter could then carry its own basic metadata, and the pages conveniently fit our Web content management system (which is actually just a wiki). We assembled a dynamically generated table of contents for the 12 chapters, and created a cover page. Essentially, the book was entirely Web-based at this point.
  • When the book chapters are viewed online, they are formatted via a CSS2 stylesheet that defines a main column for content as well as dedicating screen real estate for navigational elements. We then created a second template to render the content for exporting; this was essentially a bare-bones version of the book with no navigation and minimal styling. Pages (or even the entire book) can be exported (via the “Save As...” function in a Web browser) for use in either print production or ebook conversion. At this point, we required no skills beyond those of any decent Web designer.
  • Integrating with CS4 for Print Adobe’s IDML language defines elements specific to InDesign; there is nothing in the language that looks remotely like XHTML. So a mechanical transformation step is needed to convert the XHTML content into something InDesign can use. This is not as hard as it might seem.
  • Both XHTML and IDML are composed of straightforward, well-documented structures, and so transformation from one to the other is, as they say, “trivial.” We chose to use XSLT (Extensible Stylesheet Language Transforms) to do the work. XSLT is part of the overall XML specification, and thus is very well supported in a wide variety of tools. Our prototype used a scripting engine called xsltproc, a nearly ubiquitous piece of software that we found already installed as part of Mac OS X (contemporary Linux distributions also have this as a standard tool), though any XSLT processor would work.
  • In other words, we don’t need to buy InCopy, because we just replaced it with the Web. Our wiki is now plugged directly into our InDesign layout. It even automatically updates the InDesign document when the content changes. Credit is due at this point to Adobe: this integration is possible because of the open file format in the Creative Suite 4.
  • We wrote an XSLT transformation script[18] that converted the XHTML content from the Web into an InCopy ICML file. The script itself is less than 500 lines long, and was written and debugged over a period of about a week by amateurs (again, the people named at the start of this article). The script runs in a couple of seconds, and the resulting .icml file can then be “placed” directly into an InDesign template. The ICML file references an InDesign stylesheet, so the template file can be set up with a house-styled layout, master pages, and stylesheet definitions for paragraphs and character ranges.
  • The result is very simple and easy to use. Our demonstration requires that a production editor run the XSLT transformation script manually, but there is no reason why this couldn’t be built directly into the Web content management system so that exporting the content to print ran the transformation automatically. The resulting file would then be “placed” in InDesign and proofed.
  • It should be noted that the Book Publishing 1 proof-of-concept was artificially complex; we began with a book laid out in InDesign and ended up with a look-alike book laid out in InDesign. But next time—for instance, when we publish Book Publishing 2—we can begin the process with the content on the Web, and keep it there throughout the editorial process. The book’s content could potentially be written and edited entirely online, as Web content, and then automatically poured into an InDesign template at proof time. “Just in time,” as they say. This represents an entirely new way of thinking of book production. With a Web-first orientation, it makes little sense to think of the book as “in print” or “out of print”—the book is simply available, in the first place online; in the second place in derivative digital formats; and third, but really not much more difficult, in print-ready format, via the usual InDesign CS print production system publishers are already familiar with.
  • Creating Ebook Files Creating electronic versions from XHTML source is vastly simpler than trying to generate these out of the existing print process. The ePub version is extremely easy to generate; so is online marketing copy or excerpts for the Web, since the content begins life Web-native.
  • Since an ePub file is essentially XHTML content in a special wrapper, all that is required is that we properly “wrap” our XHTML content. Ideally, the content in an ePub file is broken into chapters (as ours was) and a table of contents file is generated in order to allow easy navigation within an ebook reader. We used Julian Smart’s free tool eCub[19] to simply and automatically generate the ePub wrapper and the table of contents. The only custom development we did was to create a CSS stylesheet for the ebook so that headings and paragraph indents looked the way we wanted. Starting with XHTML content, creating ePub is almost too easy.
  • Such a workflow—beginning with the Web and exporting to print—is surely more in line with the way we will do business in the 21st century, where the Web is the default platform for reaching audiences, developing content, and putting the pieces together. It is time, we suggest, for publishers to re-orient their operations and start with the Web.
  • Our project demonstrates that Web technologies are indeed good enough to use in an XML-oriented workflow; more specialized and expensive options are not necessarily required. For massive-scale enterprise publishing, this approach may not offer enough flexibility, and the challenge of adding and extracting extra semantic richness may prove more trouble than it's worth.
  • But for smaller firms who are looking at the straightforward benefits of XML-based processes—single source publishing, online content and workflow management, open and accessible archive formats, greater online discoverability—here is a way forward.
  • Rather than a public-facing website, our system relies on the Web as a content management platform—of course a public face could easily be added.
  • The final piece of our puzzle, the ability to integrate print production, was made possible by Adobe's release of InDesign with an open XML file format. Since the Web's XHTML is also XML, is can be easily and confidently transformed to the InDesign format.
  • today, we are able to put the process together using nothing but standard, relatively ubiquitous Web tools: the Web itself as an editing and content management environment, standard Web scripting tools for the conversion process, and the well-documented IDML file format to integrate the layout tool.
  • Using the Web as a Production Platform
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    I was looking for an answer to a problem Marbux had presented, and found this interesting article.  The issue was that of the upcoming conversion of the Note Case Pro (NCP) layout engine to the WebKit layout engine, and what to do about the NCP document format. My initial reaction was to encode the legacy NCP document format in XML, and run an XSLT to a universal pivot format like TEI-XML.  From there, the TEI-XML community would provide all the XSLT transformation routines for conversion to ODF, OOXML, XHTML, ePUB and HTML/CSS. Researching the problems one might encounter with this approach, I found this article.  Fascinating stuff. My take away is that TEI-XML would not be as effective a "universal pivot point" as XHTML.  Or perhaps, if NCP really wants to get aggressive; IDML - InDesign Markup Language. The important point though is that XHTML is a browser specific version of XML, and compatible with the Web Kit layout engine Miro wants to move NCP to. The concept of encoding an existing application-specific format in XML has been around since 1998, when XML was first introduced as a W3C standard, a "structured" subset of SGML. (HTML is also a subset of SGML). The multiplatform StarOffice productivity suite became "OpenOffice" when Sun purchased the company in 1998, and open sourced the code base. The OpenOffice developer team came out with a XML encoding of their existing document formats in 2000. The application specific encoding became an OASIS document format standard proposal in 2002 - also known as ODF. Microsoft followed OpenOffice with a XML encoding of their application-specific binary document formats, known as OOXML. Encoding the existing NCP format in XML, specifically targeting XHTML as a "universal pivot point", would put the NCP Outliner in the Web editor category, without breaking backwards compatibility. The trick is in the XSLT conversion process. But I think that is something much easier to handle then trying to
  •  
    I was looking for an answer to a problem Marbux had presented, and found this interesting article.  The issue was that of the upcoming conversion of the Note Case Pro (NCP) layout engine to the WebKit layout engine, and what to do about the NCP document format. My initial reaction was to encode the legacy NCP document format in XML, and run an XSLT to a universal pivot format like TEI-XML.  From there, the TEI-XML community would provide all the XSLT transformation routines for conversion to ODF, OOXML, XHTML, ePUB and HTML/CSS. Researching the problems one might encounter with this approach, I found this article.  Fascinating stuff. My take away is that TEI-XML would not be as effective a "universal pivot point" as XHTML.  Or perhaps, if NCP really wants to get aggressive; IDML - InDesign Markup Language. The important point though is that XHTML is a browser specific version of XML, and compatible with the Web Kit layout engine Miro wants to move NCP to. The concept of encoding an existing application-specific format in XML has been around since 1998, when XML was first introduced as a W3C standard, a "structured" subset of SGML. (HTML is also a subset of SGML). The multiplatform StarOffice productivity suite became "OpenOffice" when Sun purchased the company in 1998, and open sourced the code base. The OpenOffice developer team came out with a XML encoding of their existing document formats in 2000. The application specific encoding became an OASIS document format standard proposal in 2002 - also known as ODF. Microsoft followed OpenOffice with a XML encoding of their application-specific binary document formats, known as OOXML. Encoding the existing NCP format in XML, specifically targeting XHTML as a "universal pivot point", would put the NCP Outliner in the Web editor category, without breaking backwards compatibility. The trick is in the XSLT conversion process. But I think that is something much easier to handle then trying to
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